DOCSLIB.ORG

Mean Green: a Visual Cultural Analysis of the National Border Patrol Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mean Green: a Visual Cultural Analysis of the National Border Patrol Museum Mean Green: A Visual Cultural Analysis of the National Border Patrol Museum Item Type text; Electronic Dissertation Authors Moreno, Gabriela Elena Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 16:35:36 Link to Item http://hdl.handle.net/10150/228170 MEAN GREEN: A VISUAL CULTURAL ANALYSIS OF THE NATIONAL BORDER PATROL MUSEUM By Gabriela E. Moreno _________________________________ Copyright © Gabriela E. Moreno 2012 A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Gabriela E. Moreno entitled MEAN GREEN: A VISUAL CULTURAL ANALYSIS OF THE NATIONAL BORDER PATROL MUSEUM and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _____________________________________________________ Date: April 26, 2012 Dr. Laura Gutiérrez _____________________________________________________ Date: April 26, 2012 Dr. Maribel Álvarez _____________________________________________________ Date: April 26, 2012 Dr. Malcolm Compitello Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. Dr. Laura Gutiérrez_________________________________ Date: April 26, 2012 Dissertation Director 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Gabriela E. Moreno 4 ACKNOWLEDGEMENTS This project would have never come to fruition without the unconditional support, guidance and numerous edits of my dissertation chair, Dr. Laura Gutiérrez. Thank you so much for all of your close reads of numerous drafts, in-depth commentary and honesty during all of my years in the Spanish and Portuguese Department. I am especially grateful for always demanding quality work and for all the knowledge you have bestowed on me and which I look forward to pass on to my students. Thank you for a great experience. Dr. Álvarez, thank you for always providing me with the best advice. Thank you for motivating me and always keeping me in your thoughts. Dr. Malcolm Compitello, thank you for all your support and insightful advise; especially for always teaching me to be a professional and to believe in myself and in my work. Thank you for sponsoring my education during my doctoral studies at the U of A. You have all become my role models and I hope to one day inspire others just like you have inspired me in this journey. I want to thank all of my professors at the Department of Spanish and Portuguese for giving me the tools to work with and for teaching me to find my own voice when writing about my research. I also want to thank Dr. María Teresa Vélez for her recruitment efforts and invitation to the U of A. Thank you to the wonderful staff for all your hard work, your advice, support and patience. Marie Messina, Mary Portillo, Isela Gonzales, and Mercy Valente, thank you for providing a home away from home. My greatest gratitude is for my family. Doña Velia and Don Pepe Abanico have always believed in me and have taught me to give only my best. José Luis Jr., Susana, Vania and Albert have been a great emotional support system near and far from home. Thank you all for allowing me to crash at your place when money was tight. Joaquín Emiliano came into my life to turn it upside down and remind me of my true priorities. Joaquín, I hope that you can be proud of your Nina and maybe one day follow in her footsteps. Johnny, thank you for being my friend through the restless and sleepless nights. Thank you for your patience and love through this whole process. I look forward to our adventures and travels around the world. Last but not least, I want to thank the Samaritans Tucson sector for allowing me to contribute in their search for peace and justice. Special thanks to Sandra Anderson, Norma Price, Debbi McCullough, and Sue Lefebvre. With the support and help of my family, advisors, colleagues, and friends, my experience at the U of A has come to a very successful and happy completion. 5 DEDICATION A mis padres, Velia Moreno y José Luis Moreno, y a mis hermanos por brindarme su amor, apoyo incondicional y por siempre estar cerca a pesar de estar tan lejos. A mis abuelas Petra Armendáriz y Elena García porque a su manera me enseñaron lo que es ser una mujer fuerte y tenaz. A Joaquín Emiliano porque me deja entrar a su mundo y comparte sus aventuras conmigo. 6 TABLE OF CONTENTS LIST OF FIGURES...........................................................................................................9 ABSTRACT......................................................................................................................10 CHAPTER 1 SITUATING AND VISUALIZING THE NATIONAL BORDER PATROL MUSEUM........................................................................................................12 Introduction....................................................................................................................12 Theoretical Framework.................................................................................................20 Visual Cultural Studies: Is what you see really what you see?..............................31 Museology and Spatial Theory: The Production and Re-Appropriation of Space..................................................................................................................40 CHAPTER 2 HISTORY OF THE BORDER AND THE CREATION OF THE BORDER PATROL MUSEUM.....................................................................................44 The Border: A Relationship Between the U.S. and Mexico.......................................45 El Paso, Texas: Looking back from the 1900's to today........................................56 Immigration and the Creation of the Border Patrol as a Deterring Tool................61 FORBPO and the Foundation of the National Border Patrol Museum...................66 CHAPTER 3 LOCUS OF ORDER: SPATIALITY IN NATION BUILDING AND CULTURAL COMMODIFICAITON...........................................................................69 At First Glance...............................................................................................................70 Inside Out: What is a museum?.............................................................................75 The NBPM: Heterotopic Spaces and the Status of the Nation State.........................76 Heterotopia vs. Homotopia....................................................................................78 7 TABLE OF CONTENTS - Continued The NBPM Stays: Heterotopia vs. Homotopia in the Borderlands.......................79 The NBPM: A "Panoptic" Space and the Exercising of Power................................86 The NBPM: The Commodification of Symbols and the Hegemonic State in Nation Building...........................................................................................................................92 What is a commodity and how is it negotiable in the NBPM................................93 Commodity: A Tool for the Hegemonic State.......................................................97 Commodities as Tools of Nation Building..........................................................101 The Monumentalization of Commodities............................................................105 CHAPTER 4 WILD, WILD WEST: THE CONSTRUCTION AND RECONSTRUCTION OF RACIAL IDENTITIES (PART I)..................................110 The Foundation of a Nation........................................................................................112 The Anglo-Saxon Identity: What it means to be an "American"...........................117 Eugenis: Categorization and survival of the fittest...................................................120 The NBPM: Reinventing and Reconstructing racial identities...............................124 The NBPM: Agency and Power Relations.................................................................126 Language Discourse and Identity Socialization: An Efficient Resource.............126 The Artifacts Frozen in Time...............................................................................133 The hypermasculinity and the American male figure..........................................136 The Cowboy Within.............................................................................................142
Load more

Recommended publications
  • Identity Formation Among Central American Americans
    CS II CENTER F O R T H E STUD Y O F IMMIGR ANT INTEG R AT I O N November 2013 Central AmericanAmericans Identity Formation Among Identity Formation By Norma Stoltz Chinchilla and Nora Hamilton ChinchillaandNora Stoltz By Norma IDENTITY FORMATION AMONG CENTRAL AMERICAN-AMERICANS 1 “Growing up, I mainly thought of myself as Latino. Guatemalan was what I was and what my family was, but in the world outside my family, I was Latino.” “I say we’re Salvadorans, but I was born in San Francisco; I’m a Central American from El Salvador.” “What really motivates me is trying to identify with and respect humanity as a whole...I think this desire to identify with the broadest possible category comes from growing up in a place where to be classified in one category vs. another means your life could be in danger.” INTRODUCTION As the above quotes by young Central American Americans2 suggest, identity formation is a complex, fluid and multifaceted process. Identities may change over time in response to shifting contexts and experiences; individuals may have multiple identities, and a person may invoke different identities in response to different situations. Although we are primarily concerned with ethnic identity, other types of identity are an important part of the ways in which Central American Americans conceive of themselves and of their experiences and values. The following is an exploration of the factors influencing identity formation of a small group of young 1.5 and second generation Guatemalans and Salvadorans in California. It draws on earlier research on Central Americans in Southern California (Hamilton and Chinchilla 2001) and interviews with ten young Central Americans in Los Angeles and San Francisco as well as informants who have worked closely with them.
    [Show full text]
  • Recreating Borders Through Art in the Mercosul Anne-Laure Amilhat Szary
    Latin American Borders on the Lookout: Recreating borders through art in the Mercosul Anne-Laure Amilhat Szary To cite this version: Anne-Laure Amilhat Szary. Latin American Borders on the Lookout: Recreating borders through art in the Mercosul. Reece Jones & Corey Jonhson. Placing the Border in Everyday Life, Ashgate, pp.346-378, 2014, Border Regions Series, 978-1-4724-2455-6. halshs-01002993 HAL Id: halshs-01002993 https://halshs.archives-ouvertes.fr/halshs-01002993 Submitted on 8 Jun 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PLACING THE BORDER IN EVERYDAY LIFE Proof Copy 9781472424549.indb 1 2/3/2014 12:27:21 PM SERIES PAGE TO FOLLOW Proof Copy 9781472424549.indb 2 2/3/2014 12:27:21 PM Placing the Border in Everyday Life Edited by REECE JONES University of Hawai‘i at Manoa, USA COREY JOHNSON University of North Carolina at Greensboro, USA Proof Copy 9781472424549.indb 3 2/3/2014 12:27:21 PM © Reece Jones and Corey Johnson 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher.
    [Show full text]
  • Transcultural Performance Art, Political Intention, and the Aesthetic
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-3-2018 Transcultural Performance Art, Political Intention, and the Aesthetic Projects of Guillermo Gómez- Peña, Coco Fusco, Violeta Luna, Roberto Sifuentes, and La Pocha Nostra William R. Stark University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Stark, William R., "Transcultural Performance Art, Political Intention, and the Aesthetic Projects of Guillermo Gómez-Peña, Coco Fusco, Violeta Luna, Roberto Sifuentes, and La Pocha Nostra" (2018). Doctoral Dissertations. 1775. https://opencommons.uconn.edu/dissertations/1775 Transcultural Performance Art, Political Intention, and the Aesthetic Projects of Guillermo Gómez-Peña, Coco Fusco, Violeta Luna, Roberto Sifuentes, and La Pocha Nostra William R. Stark University of Connecticut, 2018 This dissertation analyzes socio-cultural and socio-political concerns that characterize performance art in the United States (U.S.) from the late 1980s to 2015. Of particular interest to my research are performance artists who cross cultural borders and challenge normative cultural paradigms, celebrate cultural hybridity, and challenge the epistemological value of national, cultural, ethnic, and racial borders. My research examines the ways that multimedia performance artists Guillermo Gómez-Peña (1955 – Mexico City, D.F.), Coco Fusco (1960 – New York, NY), Roberto Sifuentes (1967 – Los Angeles, CA), Violeta Luna (Mexico City, D.F., Mexico) and the performance troupe La Pocha Nostra (1993-) articulate aesthetic projects with political intention to establish sociocultural and sociopolitical critiques of hegemonic discourses. I examine the central role of the U.S.-Mexico border and border thinking in texts and performances from the 1980s to 2015.
    [Show full text]
  • Geographies of Violence
    1 Geographies of Violence Site-Oriented Art and Politics at the Mexico-U.S. Border From the 1980s to the Present Paula Brailovsky Ruiz PhD Thesis University College London 2014. 2 I, Paula Brailovsky Ruiz, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract Through a series of case studies, analysed via the theoretical framework of site- specificity, this thesis explores the ways in which artists, from the 1980s to the present, have attempted to critically represent and understand more fully the socio- political fabric of the Mexico-U.S. border and the systemic violence that undergirds it. The introduction discusses the historical and political context of the thesis, establishes its methodological territory and outlines the current research of this field. Chapter One focuses on the collective Border Art Workshop/Taller the Arte Fronterizo (BAW/TAF) arguing, with reference to Mikhail Bakhtin’s concept of the carnival, that these artists tried to propose an new and more amicable narrative of the Mexican and U.S. history. Chapter Two focuses on performance artist Guillermo Gómez-Peña whose work, created at the height of the institutionalisation of multiculturalism, analysed the role of capitalism in creating and sustaining attitudes that operated along the pernicious lines of race and nationality. Chapter Three examines Ursula Biemann’s video-essay Performing the Border, where the artist analyses female deskilled labour carried out in sweatshops in northern Mexico. I examine how she attempts to represent the hypermobility of capital vis-à-vis the physical immobility of the assembly plant worker.
    [Show full text]
  • From Chicano/A to Xicana/O: Chicano/A
    from Chicano/a to Xicana/o: Chicano/a Francisco Rios and because many Xicana/o educators see as noteworthy counter examples. In fact, their identity and ideology both similar to I see these two identities/ideologies and but different from Chicano/a educators of historical moments as falling upon lines an earlier generation, pedagogical pursuits of differential possibilities and variations for activism are equally likely to be differ- (Sandoval, 2000). ent. In sum, this article intends to move Take, for example, the question of from the politics of identity to the politics of identity. There are many kinds of Chi- critical thinking, from a distinctly Mexican cano/a identities evident in these terms: American version of (“old school”) Chican- American, Americano, Mexican American, ismo to a more contemporary (“la nueva Hispanic, Latino, vato, cholo, lowrider, onda”) Xicanismo. gangsta, gran vato, etc. In fact, the Chi- In this article—a combination of I wish to acknowledge that most of cano/a “homies” series1 (while needing to be personal narrative mixed with concep- these ideas are inspired by the lessons I troubled out) provide a broad perspective tual ponderings—I seek to explore the have been taught by the many people who on all the ways one can “be” a Chicano/a. development of a continuum of identities, have influenced my ways of looking at the And these identities shift. As Guillermo which range from Chicano/a to Xicana/o. world as I seek to make sense of my own Gómez-Peña (Mendieta & Gómez-Peña, The former is rooted in the Civil Rights experiences.
    [Show full text]
  • The Portable Border: Site-Specificity, Art, and the U. S.-Mexico Frontier Author(S): Claire F
    The Portable Border: Site-Specificity, Art, and the U. S.-Mexico Frontier Author(s): Claire F. Fox Source: Social Text, No. 41 (Winter, 1994), pp. 61-82 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/466832 Accessed: 21/10/2010 18:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=duke. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Duke University Press is collaborating with JSTOR to digitize, preserve and extend access to Social Text. http://www.jstor.org The Portable Border SITE-SPECIFICITY, ART, AND THE U.S.-MEXICO FRONTIER All major metropoli have been fully borderized.In fact, there are no Claire F.
    [Show full text]
  • Josue Pellot: and Archived by Chicago Amplified to Download and Share with Family, Friends and Future Generations
    HydeParkARTCENTER Related Events: All events are free and open to the public. Cleve Carney Gallery Exhibition Reception Sunday, May 23, 3 - 5 pm May 30 - August 22, 2010 Open Mic: Record Your History Thursday, July 22, 6 - 8 pm What’s your family history? Gather with us over coffee to share your family’s sto - ries of triumph, struggle and pride at this oral history event. Everyone is invited to tell their story, life lessons and experiences. The stories we share will be recorded Josue Pellot: and archived by Chicago Amplified to download and share with family, friends and future generations. Pellot Gonzalez Rios Film Screening and Debut: I am Queen (2010), 1:28 minutes Saturday, August 14, 1 pm The debut documentary directed and produced by Josue Pellot and Henrique Cirne-Lima, I am Queen takes a look at the often unobserved life of Chicago's Puerto Rican transgendered community. In this film, Pellot and Cirne-Lima docu - ment the Cacique Pageant, the first annual transgendered pageant held in Chicago's Humboldt Park neighborhood. The film exposes the restructuring of the family unit experienced by pageant participants who are often distanced from their biological family only to find kinship among others in the Puerto Rican trans - gendered community. About the Artist Josue Pellot was born in Mayaguez, Puerto Rico, and resides in Chicago. He received a BFA from the University of Illinois at Chicago and a MA from Northwestern University. Pellot works in various mediums such as painting, video, and sculpture. His work has been shown locally and abroad, including at the Galleria Tinta Roja, the Chicago Cultural Center, the Contemporary Art Society (London, UK), and the Museo de Arte Contemporaneo, Caguas, Puerto Rico.
    [Show full text]
  • Looking Latina: Cultural Perspectives on Images and Representations of Latinas in Film, Television and Popular Culture
    LOOKING LATINA: CULTURAL PERSPECTIVES ON IMAGES AND REPRESENTATIONS OF LATINAS IN FILM, TELEVISION AND POPULAR CULTURE By ROSA E. SOTO A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 1 Copyright 2006 By Rosa E. Soto 2 To my mother, Laura Soto-Perez; my grandmother, Ramona Lopez; and all of the women in my family. 3 ACKNOWLEDGMENTS I thank my mother, Laura Soto-Perez for, her hard work, her courage, her words of wisdom, her strength, and her dignity throughout the years. I thank my grandparents, Laurentino and Ramona Lopez, for being inspirations to us all. I thank all of my friends, who helped me with the process, from revising dissertation chapters to talking over ideas. I thank my dissertation chairs, Dr. Tace Hedrick and Dr. Malini Schueller, for their encouragement, advice and help. I also thank other committee members Dr. Debra King and Dr. Efrain Barradas. I thank my Aunt, Inez Santiago, for sharing her stories with me. I thank my Uncle, Amical Santiago, for helping me and for always being there when needed. I thank my brother, Ricardo Soto, and my sister, Ramonita Soto, for being the wings that let me fly. I personally thank my friends Brigette Smith, Sarah Brusky, and Maisha Wester for their comfort, their thoughts, and their friendship throughout this process. I thank Onika Washington for our decades of friendship and for the struggles we both faced together. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS
    [Show full text]
  • The Visual Rhetorics of Cholx Artistas As a Method for Social Justice Movements
    University of Texas at El Paso ScholarWorks@UTEP Open Access Theses & Dissertations 2020-01-01 Towards A New Cholx Consciousness: The Visual Rhetorics Of Cholx Artistas As A Method For Social Justice Movements Elvira Carrizal-Dukes University of Texas at El Paso Follow this and additional works at: https://scholarworks.utep.edu/open_etd Part of the Epistemology Commons, Ethnic Studies Commons, and the Rhetoric Commons Recommended Citation Carrizal-Dukes, Elvira, "Towards A New Cholx Consciousness: The Visual Rhetorics Of Cholx Artistas As A Method For Social Justice Movements" (2020). Open Access Theses & Dissertations. 3085. https://scholarworks.utep.edu/open_etd/3085 This is brought to you for free and open access by ScholarWorks@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of ScholarWorks@UTEP. For more information, please contact [email protected]. TOWARDS A NEW CHOLX CONSCIOUSNESS: THE VISUAL RHETORICS OF CHOLX ARTISTAS AS A METHOD FOR SOCIAL JUSTICE MOVEMENTS ELVIRA CARRIZAL-DUKES Doctoral Program in Rhetoric and Composition APPROVED: Kate Mangelsdorf, Ph.D., Chair Beth Brunk-Chavez, Ph.D. Dennis Bixler-Márquez, Ph.D. Guillermina Gina Núñez-Mchiri, Ph.D. Stephen L. Crites, Jr., Ph.D. Dean of the Graduate School Copyright © by Elvira Carrizal-Dukes 2020 Dedication To my husband Ronnie Dukes and my golden retriever Ody Dukes for their constant love, support, and inspiration. To the Cholos, Cholas, and Cholx throughout my life for always being there. To my parents and grandparents, tíos y tías, primas y primos, my siblings, especially my little brothers, and nieces and nephews – I love you all.
    [Show full text]
  • Qt63g6128j Nosplash 8F4ba038
    Black California Dreamin’ The Crises of California’s African-American Communities Editors Ingrid Banks, Gaye Johnson, George Lipsitz, Ula Taylor, Daniel Widener & Clyde Woods C B S R © 2012 UCSB Center for Black Studies Research ISBN 0-9765036-6-2 Front cover photo courtesy of: Donna Ross-Jones Back cover photos courtesy of: Juli Grigsby (© Juli Renee Photography) Inside jacket photo courtesy of: Southern California Library - The People’s Library 6120 S. Vermont Avenue Los Angeles, CA 90044 The photo depicts the Library still standing while other buildings around it were burned down in the aftermath of the Los Angeles Rebellion in 1992. One of those buildings was a liquor store across the street from the library. Clyde A. Woods January 17,1957 - July 6, 2011 Photograph by Lluvia Higuera, commissioned by the Department of Black Studies, University of California, Santa Barbara Black California Dreamin’ ACKNOWLEDGEMENTS Black California Dreamin’: The Crises of California’s African-American Communities owes a great debt to Clyde Woods. His vision of Black California Studies will leaves an indelible mark on how we think about the African-American presence throughout California and we thank him for helping all of us to think more innovatively about how we engage work that merges different genres and speaks to a diverse audience. The co-editors are also indebted to the authors of Black California Dreamin’ for permitting us to publish their work in the pages that follow. Alison Jefferson worked with Clyde in writing grants for the Black California Dreamin’ project and organizing the conference, held in May 2011.
    [Show full text]
  • Racial Paradigms: the Discursive Production of the Hispanic and the 2000 U.S
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Lomas, Laura BEYOND “FIXED” AND “MIXED” RACIAL PARADIGMS: THE DISCURSIVE PRODUCTION OF THE HISPANIC AND THE 2000 U.S. CENSUS Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 48, enero-junio, 2005, pp. 65-93 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348686003 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Beyond "fixed" and "mixed"... 65 BEYOND “FIXED” AND “MIXED” RACIAL PARADIGMS: THE DISCURSIVE PRODUCTION OF THE HISPANIC AND THE 2000 U.S. CENSUS1 Laura Lomas Rutgers University Abstract This essay juxtaposes the proliferation of discourse on and about the Hispanic in the wake of the 2000 U.S. Census with performative represen- tations of American cultural identity by Mexican-Chicano Guillermo Gómez-Peña and Native Canadian Monique Mojíca. In opposition to the new multiracialism of the 2000 U.S. Census, both anti-racist critical theo- rists of whiteness and conservative anti-Hispanic analysts decry the loss of a binary racial paradigm that clearly defines Euro-American culture against its non-English-speaking others. These theorists mistakenly blame multiracialism—and the Hispanics who define themselves in this distinct register—as a problematic threat to a one-drop racial paradigm, based on notions of racial purity.
    [Show full text]
  • Chicano Studies Research Center Annual Report 2015-16 Submitted
    Chicano Studies Research Center Annual Report 2015-16 Submitted by Director Chon A. Noriega 1 TABLE OF CONTENTS I. DIRECTOR’S MESSAGE ........................................................................................................................... 3 II. DEVELOPMENT REPORT ....................................................................................................................... 5 III. ADMINISTRATION, STAFF, FACULTY, AND ASSOCIATES .......................................................... 6 IV. ACADEMIC AND COMMUNITY RELATIONS ................................................................................... 9 V. LIBRARY AND ARCHIVE .................................................................................................................... 17 VI. PRESS ..................................................................................................................................................... 25 VII. RESEARCH ........................................................................................................................................... 38 VIII. FACILITIES ......................................................................................................................................... 51 APPENDICES ............................................................................................................................................... 53 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research
    [Show full text]